![]() 116, 119, as "Turkeys" lists an etching by Vallotton. The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré. "La Peinture aux États-Unis: Les Galeries privées (1er article)." Gazette des beaux-arts, 2nd ser., 36 (July 1887), p. , offers this picture, which he calls "Gardeuse de dindons," for Fr 30,000 to the Director of Fine Arts for the collection of the Louvre. Febru, describes this painting, which he hopes to finish and deliver to Durand-Ruel in the following week. ![]() ![]() 86 (as "Gardeuse de dindons, l'automne"). Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. "Corot to Cézanne: 19th Century French Paintings from The Metropolitan Museum of Art," December 22, 1992–April 11, 1993, no catalogue. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue. "The Rise of Landscape Painting in France: Corot to Monet," July 30–September 28, 1991, no. "From Delacroix to Matisse," June 10–July 30, 1988, no. "From Delacroix to Matisse," March 15–May 10, 1988, no. "Capolavori Impressionisti dei Musei Americani," March 4–May 10, 1987, no. "Capolavori Impressionisti dei Musei Americani," December 3, 1986–February 1, 1987, no. "In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition," September 18–December 7, 1986, no. "In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition," June 29–September 1, 1986, no. "Jean-François Millet," January 22–March 7, 1976, no. 242 (as "Gardeuse de dindons, l'automne"). "19th-Century French and American Paintings from the Collection of The Metropolitan Museum of Art," April 9–May 15, 1946, no. "Landscape Paintings," May 14–September 30, 1934, no. "Exhibition of French Painting of the Nineteenth and Twentieth Centuries," March 6–April 6, 1929, no. Fletcher Collection," March 4–?, 1918, no catalogue. 614 (as "The Turkey Keeper," lent by Charles A. Millet and Others, his Contemporaries and Friends," November 15, 1889–January 15, 1890, no. "Works of Antoine-Louis Barye Exhibited at the American Art Galleries under the Auspices of the Barye Monument Association, also of Paintings by J. 6 (as "The Turkey Guardian," lent by Chas. "Pedestal Fund Art Loan Exhibition," December 3, 1883–January 1, 1884, no. Everard & cie, Flemish Gallery Londres," January 22–February 20, 1876, no. "Exposition de tableaux modernes au profit de la caisse centrale des artistes belges Collection de MM. A chalk drawing after the picture by Alfred Robaut is in The Met ( 61.176). Six sketches for this picture were owned by the Leicester Galleries, London, in 1961 (see Herbert 1962, where they are dated about 1868–70). Here, against the darkening sky, the inevitability of winter is stayed fleetingly by the contrasting sunlight that picks out three birds to the right of the tree and the grass among the rocks at the lower right, which is longer where it would have been more difficult to cut. ![]() In any case, setting, including both time and place, had long been an instrinsic feature of Millet’s peasant subjects. A probable catalyst in this development was the death in 1867 of Théodore Rousseau, which prompted Hartmann to ask Millet to complete some landscapes by the late artist that had been paid for, but which had been left unfinished (Herbert 1976, p. In these late works Millet revealed himself to be a highly original, even idiosyncratic landscape painter. The effect Millet described, of placing the hill "rather far back in the picture" is similar, if less exaggerated, than in a striking composition of the same size, In the Auvergne (ca. In the center of the picture, what appears to be a chimney attached to the roof of a cottage has been identified as the ruined tower of the neighboring hamlet of Chailly-en-Bière, which was used as an open-air furnace (Herbert 1976, p. I have also tried to indicate the village in the background on a lower plane." The setting is near Barbizon, where Millet lived from 1849 until his death. The figures are a woman seen from behind and a few turkeys. Millet wrote to his patron Frédéric Hartmann on Februthat he had nearly completed this picture for the dealer Durand-Ruel and hoped to deliver it the following week: "It is a hillock, with a single tree almost bare of leaves, and which I have tried to place rather far back in the picture.
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